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The Materials

 

I work exclusively with hard-paste French porcelain, mixed from powder in my studio. Known for its exceptional purity, strength, and soft translucency, this high-fired porcelain offers both delicacy and durability.  The only machine in my studio is the mixer that gently churns the liquid slip. Everything else is done by hand.

 

The Moulds

Each design begins with a clay form which I turn by hand on a wheel.  This is then cast in plaster and further refined to create the 'master mould'.  The vessel requires one mould, the handle another - a two-part process that allows for the small variations that accumulate into personality. 

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The Casting

 

Slip is gently mixed for hours before casting to ensure the perfect fluidity.  A test piece is cast to calculate the casting time for that day - too short and the walls are thin. Too long and they're heavy. Timing is influenced by the ambient temperature and humidity as well as the level of moisture in the moulds.  Once emptied and trimmed, the moulds are covered and left to dry slowly for two days.

 

The Finishing

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Handles are attached and the bases stamped by hand, positioned by feel rather than measurement. Those millimeter differences that make a collection feel natural, not mechanical.

 

Pieces are lined carefully on wooden boards, covered and left to dry for a week.  Each piece is then sponged - a delicate process to smooth imperfections and gently taper the rim for the perfect sip.  A further drying time of at least a week in preparation for the kiln.

 

The Firings

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The first bisque fire at 1000°C, then dipped swiftly in a transparent glaze. The final firing reaches 1300°C, creating the inimitable porcelain white that's both strong and refined. ​